M2Z 


Davis 
Zone  Police 


THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


French'!  International  Copyrighted  (in  England,  her  Colonies,  antf 
the  United  States)  Edition  of  the  Work*  of  the  Best  Authors 


No.   279 


THE  ZONE  POLICE 


in  One  Ret 


BY 

RICHARD  HARDING   DAVIS 


COPYRIGHT,  1914,  BY  RICHARD  HARDING  DAVIS 


ALL  RIGHTS  RESERrSD 

BUTTON. — Professionals  and  amateurs  are  hereby  warned  that 
"THE  ZONE  POLICE,"  being  fully  protected  under  the  copy 
right  Laws  of  the  United  States  of  America,  is  subject  to  a 
royalty  and  anyone  presenting  the  play  without  the  consent  of 
the  owners  or  their  authorized  agents  will  be  liable  to  the 
penalties  by  law  provided.  Applications  for  the  Professional  and 
Amateur  acting  rights  must  be  made  to  Samuel  French,  25  West 
45th  Street,  New  York,  N.  V. 


PRICE,  30   CENTS 


New  York : 
SAMUEL  FRENCH 

Publisher 
25  West  45th  Street 


London : 

SAMUEL  FRENCH,  Ltd. 

26  Southampton  Street 

Strand 


••••••••••••••••••••••••••••••••••••••••* 


MRS.   WIGGS   OF   THE 
CABBAGE   PATCH 

Dramatization  in  3  acts,  by  Anne  Crawford  Flexner  from 
Jie  novel  by  Alice  Hegan  R'ice.  15  males,  11  females, 
*  interior,  1  exterior.  Costumes  modern  ajad  rustic.  Plays 
A  full  evening. 

A  capital  dramatization  of  the  ever-beloved  Mrs.  Wiggs  and 
her  friends,  people  who  have  entered  the  hearts  and  minds  of  a 
nation.  Mrs.  Schultz  and  Lovey  Mary,  the  pessimistic  Miss  Hazy 
•nd  the  others  need  no  new  introduction.  Here  is  characteriza 
tion,  humor,  pathos,  and  what  is  best  and  most  appealing  in 
modern  American  life.  The  amateur  acting  rights  are  reserved 
for  the  present  in  all  cities  and  towns  where  there  are  stock 
companies.  Royalty  will  be  quoted  on  application  for  those  cities 
•nd  towns  where  it  may  be  presented  by  amateurs. 

Price,  75  Gents. 

THE   FOUR-FLUSHER 

Comedy  in  3  acts.  By  Caesar  Dunn.  8  males,  5  females. 
£  interiors.  Modern  costumes.  Plays  2%  hours. 

A  comedy  of  hustling  American  youth,  "The  Four-Flusher"  is 
one  of  those  clean  and  bright  plays  which  reveal  the  most  appeal 
ing  characteristics  of  our  native  types.  Here  is  an  amusing  story 
of  a  young  shoe  clerk  who  through  cleverness,  personality,  and 
plenty  of  wholesome  faith  in  himself,  becomes  a  millionaire.  The 
play  is  best  described  as  "breezy."  It  is  full  of  human  touches, 
•nd  develops  a  most  interesting  story.  It  may  be  whole-heartedly 
recommended  to  high  schools.  (Royalty,  twenty-five  dollars.) 

Price,  75  Cents. 

PALS  FIRST 

Comedy  to  a  prologue  and  3  acts.  By  Lee  Wilson  Dodd. 
8  males,  3  females.  1  interior,  1  exterior.  Modern  cos 
tumes.  Plays  21/2  hours. 

Based  on  the  successful  novel  of  the  same  name  by  F.  P. 
Elliott,  "Pals  First"  is  a  decidedly  picturesque  mystery  play. 
Danny  and  the  Dominie,  a  pair  of  tramps,  enter  a  mansion  and 
persuade  the  servants  and  friends  that  they  belong  there.  They 
ire  not  altogether  wrong,  though  it  requires  the  intervention  of 
\  judge,  two  detectives,  a  villain  and  an  attractive  girl  to  un- 
•ngle  the  complications.  A  most  ingenious  play,  well  adapted 
o  performance  by  high  schools  and  colleges.  (Royalty,  twenty- 
•e  dollars.)  Price,  75  Cents 


FRENCH,  25  West  45th  Street,  New  York  City 
Oil*  New  Descriptive  Catalogue  Sent  Free  on  Request 


THE  ZONE  POLICE 


plag  in  ©ne  Zlct 


BY 
RICHARD  HARDING  DAVIS 


COPYRIGHT,  1914,  BY  RICHARD  HARDING  DAVW 


ALL  RIGHTS  RESERVED 


CAUTION. — Professionals  and  amateurs  are  hereby  warned  that 
"THE  ZONE  POLICE,"  being  fully  protected  under  the  copy 
right  Laws  of  the  United  States  of  America,  is  subject  to  a 
royalty  and  anyone  presenting  the  play  without  the  consent  of 
the  owners  or  their  authorized  agents  will  be  liable  to  the 
penalties  by  law  provided.  Applications  for  the  Professional  and 
Amateur  acting  rights  must  be  made  to  Samuel  French,  25  West 
45th  Street.  New  York.  N.  Y. 


New  York : 

SAMUEL  FRENCH 

Publisher 

25  West  45th -Street 


London : 

SAMUEL  FRENCH,  Ltd. 

26  Southampton  Street 

Strand 


THE  ZONE  POLICE. 

The  scene  is  laid  at  the  Las  Palmas  Police  Station 
on  the  Isthmus  of  Panama. 

SCENE; — The  interior  of  a  police  station;  bare,  and 
official  looking.  It  belongs  to  the  Canal  Zone 
Police  on  the  Isthmus  of  Panama.  It  is  sup 
posed  to  stand  in  an  open  space  -within  fifty 
yards  of  a  railroad  station  on  the  railroad 
between  Colon  and  Panama.  In  the  play  the 
station  is  referred  to  as  "  Las  Palmas." 
The  walls  are  of  plaster  or  planed  boards, 
in  the  back  wall  is  a  door  opening-  on  the  level 
of  the  ground.  Directly  to  the  right  of  this 
door  is  a  small  stand  or  table  holding  a  water 
cooler  with  a  practical  spigot  and  a  white 
enameled  cup.  On  the  floor  below  the  spigot, 
to  catch  the  overflow  of  water,  is  a  gray  stone 
jar. 

In  the  right  wall  half  way  down  stage  is  a 
door  of  iron  bars  with  a  large  practical  lock. 
This  door  is  supposed  to  lead  to  a  corridor  of 
cells.  Below  this  door  is  a  table  with  a  flat 
top,  set  broadside  to  the  audience.  On  it  are 
a  student  lamp  with  a  green  shade,  writing 
materials,  long  books  bound  in  calfskin.  Be 
hind  it  facing  audience,  a  plain  wooden  chair. 
Down  stage  far  to  the  left  on  a  Vine  with  this 
table  is  a  larger  table,  end  on  to  the  audience; 
with  a  swivel  chair  to  the  left  of .  it,  facing 
right.  On  the  center  of  this  table  is  another 
student  lamp  with  green  shade,  writing  ma 
terials  and  on  the  lower  end  a  hand  telephone. 


THE  ZONE  POLICE. 

The  walls  are  hung  with  maps  of  the  Canal, 
of  Central  America  and  South  America,  and 
with  printed  bills,  describing  Criminals  wanted 
by  the  police.  These  latter  show  photographs 
of  the  men  wanted;  the  "  Reward "  is  con 
spicuous.  (These  bills  may  be  obtained  at  any 
police  headquarters  of  detective  agency"). 
The  backdrop  shows  tropical  surroundings,  the 
Culebra  Cut,  palm  trees.  The  light  outside  is 
faint  moonlight;  inside  the  light  comes  from  the 
tzvo  student  lamps.  No  light  comes  through 
the  door  on  the  right. 

If  a  set  is  especially  built  for  this  scene,  on 
each  side  of  the  center  door  there  should  be  a 
window,  ^vithout  glass  and  protected  by  iron 
bars.  The  doors  to  the  center  entrance  are 
supposed  to  open  out,  and  do  not  show. 


THE  ZONE  POLICE. 
CHARACTERS    AND    THEIR     COSTUMES. 

MAJOR  AINTREE: — Is  a  distinguished  looking 
man  between  thirty-five  and  forty.  He  wears 
the  white  duck  "  tropic"  uniform  and  insignia 
of  a  Major  of  Infantry  in  the  regular  army. 
He  carries  no  side  arms. 

LIEUT.  STANDISH  : — Is  a  smart  young  man  of 
twenty-three.  He  wears  the  uniform  of  the  C. 
Z  police.  It  consists  of  a  khaki  tunic  with 
shoulder  straps,  flap  breast  pockets,  flap  hip 
pockets.  No  belt.  Riding  breeches,  tan  leather 
gaiters,  tan  shoes,  and  a  khaki-colored  Stetson 
sombrero  with  a  stiff  flat  brim. 
SARGEANT  MEEHAN  : — Is  an  Irish-American  of 
fifty  years,  with  gray  hair  and  of  soldiery 
bearing. 

BOLLARD  : — Is  a  young  man  of  the  same  age  as 
STANDISH. 

BULLARD  and  MEEHAN  both  wear  uniforms 
similar  to  the  one  worn  by  STANDISH.  Like 
him  they  do  not  wear  belts.  This  is  empha 
sised,  because  the  sombrero  with  flat  brim  and 
the  absence  of  the  belt  is  what  makes  the  dif 
ference  between  the  uniform  of  the  Zone  police 
and  that  of  a  U.  S.  Regular. 
MEEHAN  wears  Sargeant  stripes  on  his  left 
sleeve.  He  is  without  a  hat.  BULLARD  carries 
a  night  stick  with  a  leather  thong,  and  above 
his  left  breast  pocket  wears  a  silver  shield. 
On  the  front  of  his  sombrero  is  a  silver  in 
signia  zvhich  shows  his  number  surrounded  by 
a  wreath. 

LIEUT.  STANDISH  does  not  wear  any  insignia 
on  his  sombrero.  His  shield  is  of  gold.  On 
either  side  of  the  opening  of  the  standing  collar 
of  his  tunic  is  a  single  bar.  There  is  also  a 
single  bar  on  the  shoulder  straps. 


THE  ZONE  POLICE. 


DISCOVERED : — MEEHAN  is  standing  up  stage  at 
right  of  water  cooler  -with  his  right  profile  to 
wards  audience.  Around  his  forearm  swings 
a  ring  on  which  are  keys.  On  his  left  hand 
he  holds  the  iron  cup.  Water  is  running  into 
the  cup. 

BULLARD  wearing  his  sombrero  and  with  his 
night  stick  under  his  arm,  stands  at  the  chair 
to  the  left  of  the  big  table  at  left.  In  his  hands 
he  holds  a  slip  of  paper  which  he  is  studying. 

BUL.  Can  I  sign  my  name  here,  Sargeant? 
(moves  as  though  to  sit  down) 

MEEHAN.  No,  thafs  the  Lieutenant's  desk.  Use 
mine,  (points  to  table  R.) 

BUL.    I  only  want  to  write  my  name. 

MEEHAN.  (consenting)  Oh!  (MEEHAN  with 
cup  of  water  in  left  hand  starts  to  door  right. 
BULLARD  still  standing  lays  his  night  stick  at  the 
left  end  of  table,  then  places  the  slip  of  paper  he 
is  holding  on  the  desk,  takes  up  pen,  signs  the 
paper,  leaves  it  He  on  desk.  At  his  left  elbow,  the 
desk  telephone  rings.  BULLARD  looks  at  it,  then  at 
MEEHAN)  Answer  that  for  me,  will  you?  (BUL 
LARD  lifts  'phone  in  right  hand  with  his  left  removes 
receiver)  If  I  don't  get  this,  (shows  cup  of  water) 
to  your  prisoner,  he's  liable  to  tear  our  cel)s  down. 

7 


8  THE  ZONE  POLICE. 

(turns  key  in  door  R.)     What  d'ye  do  to  him  to 
make  him  so  thirsty? 

BUL.  Chased-  him  two  miles  through  Culebra. 
That's  all!  (to  'phone}  Hello?  (to  MEEIIAN) 
He's  no  thirstier  than  /  am.  He  give  me  all  the 
fight  /  want. 

MEEHAN.  That's  right!  Those  Spanish  wops 
when  they  get  going (exit  R.) 

BUL.  (to  'phone}  Hello!  Yes,  this  is  Las 
Palmas  Police  Station.  I'm  speaking  f&r  Sargeant 
Meehan.  No,  the  Lieutenant  is  not  here.  Yes, 
wait,  (lowers  'phone  to  table  but  keeps  receiver  in 
his  left  hand.  Seats  himself,  draws  writing  pad 
towards  him,  takes  up  pencil.  As  he  speaks  he 
makes  notes)  Go  ahead.  "  Major  Aintree — Com 
manding  thirty-third  Infantry."  (listens,  nods, 
writes)  I  understand.  He  got  on  the  train  at 
Panama  an'  he's  .leaving  it  at  this  Station.  I  got 
you.  (MEEHAN  enters,  locks  door  leaving  key  in 
lock,  throws  remaining  drops  of  water  to  the  floor, 
places  keys  and  cup  on  table,  right.  Looks  inquir 
ingly  at  BULLARD)  Wait  a  minute,  (writes)  "  In 
toxicated  and  disorderly."  What  d'ye  want  us  to 
do  ?  Report  to  the  Lieutenant,  right !  Good-night. 
(hangs  up  receiver  and  rises')  That  was  Brewer  at 
Cambola  Station.  The  train  guard  reports  Major 
Aintree  is  on  the  Owl  train  and  he's  getting  off 
here.  He's  drunk  and  raising  Cain. 

MEEHAN.     (regretfully)    Again,  hey  ? 

BUL.  (indifferently)  Seems  so.  You're  to  re 
port  to  Lieut.  Standish.  (pause)  The  Lieut, 
wouldn't  have  the  nerve  to  arrest  an  army  officer, 
would  he?  Just  for  having  a  few  drinks  in  him? 

MEEHAN.  (takes  cup  to  cooler)  This  Lieutenant 
would.  He's  asked  us  to  report  every  time  we  see 
Aintree  drunk. 

BUL.     (surprised)     What  for? 

MEEHAN.     For  evidence.     He   wants  to 
Aintree :  wants  to  force  him  out  of  the  Army. 


THE  ZONE  POLICE.  9 

BUL.  (increduluous)  Aintree?  Why  Aintree's 
one  of  the  best  men  in  the  Service,  ain't  he?  Isn't 
he  the  one  yea  read  about  in  the  papers? 

MEEHAN.    Yes. 

BUL.  The  one  they  call  the  Hero  of  some  place 
in  the  Philippines. 

MEEHAN.  Patangas.  He  got  the  medal  of 
Honor  tor  that.  He'd  ought  to  got  it  in  Cuba  too. 
I  saw  him.  He  has  a  record  in  three  wars  that 
man. 

BUL.    Then  why's  Standish  against  him? 

MEEHAN.  Isn't  against  him;  against  his  habits. 
Thinks  he's  a  bad  influence  in  the  Army. 

BUL.  Ha !  What's  Standish  got  to  do  with  the 
Army.  He's  a  Policemanl 

MEEHAN.  He  wasn't  always  a  policeman,  (im 
pressively)  That  boy  was  three  years  at  West 
Point. 

BUL.  He  was!  Now,  what  d'ye  know  about 
that? 

MEEHAN.  His  father  was  General  Standish ;  all 
his  folks  have  been  Army  officers — straight  back  to 
Bunker  Hill. 

BUL.    Then  what's  he  doing  in  the  police? 

MEEHAN.  He  wasnv  smart  enough  to  pass  the 
third  year  at  West  Point;  so  he's  marking  time 
down  here  studying  for  the  next  Examination. 
He'll  pass  that,  all  right.  He'll  make  a  smart  of 
ficer. 

BUL.  But  Aintree  is  a  smart  officer.  Why  should 
the  Lieutenant  pound  him? 

MEEHAN.    Because  he's  proud  of  the  Army. 

BUL.     (disgustedly}     Oh! 

MEEHAN.      You   can't   understand.     7   can.     / 

served  three  enlistments  in  the  regular  Army;  and 
j 

BUL.  And  you  say  that  Aintree  had  a  fine  record 
in  three  wars. 

MEEHAN.      That's    it!      That's    why    Standish 


io  THE  ZONE  POLICE. 

thinks  he  shouldn't  make  a  beast  of  himself  now, 
and  set  a  bad  example.  Aren't  his  men  the  worst 
on  the  Zone. 

BUL.  They  sure  ARE!  They  wouldn't  last  long 
in  the  police. 

MEEHAN.  You  see !  You're  proud  of  the  Police, 
and  Standish — he's  proud  of  -the  Army.  And  he 
don't  think  there's  room  in  it  for  drunkards. 

BUL..  Well,  1  aon't  see  that  it's  any  of  Standish's 
damn  business. 

MEEHAN.  (in  a  whisper)  You  needn't  tell  him 
that!  (aloud)  Attention!  (BULLARD  and  MEE 
HAN  stand  at  attention.  STANDISH  enters  c.  He 
goes  direct  to  water  cooler^  and  pours  water  into 
cup.  BULLARD  and  MEEHAN  salute) 

STANDISH.  I  didn't  see  you  at  the  railroad  sta 
tion,  Bullard.  Why  aren't  you  on  post? 

BUL.  I  brought  in  a  prisoner,  Lieutenant,  I  had 
to  chase  him — 

STANDISH.  That  will  do.  I'll  hear  about  it  later. 
Get  back  to  the  station  now ;  the  train's  due. 

BUL.  Yes,  Lieutenant,  (goes  to  lower  end  of 
table  left  and  picks  up  his  night  stick  and  starts  up) 

MEEHAN.    Lieutenant ! 

STANDISH.    Yes? 

MEEHAN.  The  train  guard  reports  Major  Ain- 
tree  is  on  thir,  train — 

STANDISH.  (to  BULLARD)  Wait!  (to  MEE 
HAN)  Has  he  been — is  he — 

MEEHAN.    Yes,  Lieutenant. 

STANDISH.  (to  BULLARD)  If  Major  Aintree 
should  not  go  directly  to  his  quarters — if  he  creates 
any  disturbance — report  to  me. 

BUL.  (glancing  at  'phone)  Shall  I  telephone, 
sir? 

STANDISH.    Report  in  person. 

BUL.    Yes,  Lieutenant. 

STANDISH  takes  a  revolver  from  his  hip 


THE  ZONE  POLICE.  II 

pocket,  lays  it  on  upper  end  of  table  left. 
Takes  from  pocket  of  his  tunic  a  notebook  and 
pencil.  Seats  hinvself  at  table  left,  and  writes 
in  notebook.} 

STANDISH.  (holding  up  notebook}  This  says 
he's  been  drunk  every  night  this  week.  And  be 
fore  that  for  two  months. 

MEEHAN.     He  can't  keep  that  up!     It's  murder. 

STANDISH.  It's  worse,  it's  suicide.  You're  an 
old  soldier,  Meehan,  and  you  know  Major  Aintree 
has  everything  a  soldier  should  have,  and  ALL  the 
honors • 

MEEHAN.     That's  right,  Lieutenant 

STANDISH.  And  he  won  his  honors.  He  was 
no  White  House  pet.  He  got  his  promotion  on  the 
firing  line.  And  I'll  bet  when  I  was  at  West  Point 
every  boy  there  took  Aintree  for  his  model.  I  know 
I  did.  He  was  my  Hero,  I  was  grateful  to  him  for 
for  bringing  such  credit  to  the  Army,  (laughs 
mockingly}  Why,  in  those  days  I'd  have  followed 
Aintree  to  Hell  and  back  again. 

MEEHAN.  And  remember,  Lieutenant,  he  led  his 
men  there,  many  a  time. 

STANDISH.  (sharply}  Where's  he  leading  them 
now?  To  every  dive  and  rum  hole  in  Panama! 
Am  I  right? 

MEEHAN.  (reluctantly}  Yes,  but  maybe  if.  the 
Lieutenant  talked  to  him  ? 

STANDISH.  I  ?  I  never  met  him.  Before  I  came 
here  he  was  the  one  man  I  wanted  to  meet.  But 
not  after  I  found  he  was  disgracing  my  father's 
old  regiment,  and  setting  an  example  to  the  men 
that  keeps  them  in  the  hospitals,  and  the  cells.  Ain 
tree  knows  you  can't  dissipate  on  the  Isthmus. 
You've  got  to  live  clean.  If  you  don't,  you  die! 
And  it's  because  we  Americans  have  lived  clean 
that  where  the  others  are  buried  on  Monkey  Hill, 
our  people  have  kept  alive — and  built  that  Canal! 


12  THE  ZONE  POLICE. 

(points  off  center.  The  whistle  of  a  railroad  loco 
motive  Is  heard  at  a  distance  of  fifty  yards.  STAN- 
DISH  looks  at  MEEHAN)  * 

MEEHAN.  That's  the  trdn.  She's  leaving  the 
station. 

STANDISH.  Then,  Aintree's  here  now ;  staggering 
up  the  hill,  hey?  Maybe  lying  in  the  road — in  uni 
form!  He  won't  be  in  uniform  long.  Not  if  /  can 
help  it. 

MEEHAN.  It  seems  a  pity,  sir.  If  someone  only 
tried  to  make  him  swear  off. 

STANDISH.  They  have  tried;  the  Canal  people, 
his  brother  officers,  the  girl  he  was  engaged  to. 
She  begged  him  to  swear  off. 

MEEHAN.    And  she  couldn't  do  it? 

STANDISH.  No!  He  gave  the  same  answer  to 
all  of  them.  Said  "  Swearing  off  "  was  a  confes 
sion  of  weakness;  said  he  could  stop  when  he 
wanted  to.  But  if  he  took  the  pledge  he's  be  ad 
mitting  whiskey  is  stronger  than  he  iz.  And,  so  it 
is,  and — (slowly,  impressively)  Ifs  going  to  drive 
him  out  of  the  Army! 

MEEHAN.  One  man  like  him  in  the  Army  is 
worth  a  thousand  rookies ! 

STANDISH.  Sober,  he  is ;  drunk — he's  not.  Ain- 
tree  is  a  traitor  to  the  Army.  He's  a  traitor  just 
because  he's  weak,  just  because  he  can't  say  "  No," 
to  a  bottle,  (from  off  stage  left,  supposedly  at  a 
distance  of  fifty  yards  comes  two  reports  of  a 
pistol.  STANDISH  rises  and  goes  to  right  of  center 
door  and  looks  off  towards  the  left) 

MEEHAN.  That's  from  up  the  hill,  Lieutenant, 
from  the  Barracks. 

STANDISH.  No,  I  think  it  came  from  the  rail 
road  station.  Does  Bullard  carry  an  automatic? 

MEEHAN.    No,  sir,  a  revolver. 

STANDISH.  I  thought  so.  Go  down  and  see  what 
the  trouble  is!  No,  I'll  go.  (starts  off  left) 

MEEHAN.     You    forgot   your   gun,    Lieutenant. 


THE  ZONE  POLICE.  13 

(crosses  quickly  to  table  left  and  picks  up  STAN- 
DISH'S  revolver) 

STANDISH.  Oh!  That's  all  right!  (Telephone 
bell  halts  STANDISH.  He  points  at  'phone)  See 
what  that  is.  (MEEHAN,  standing,  picks  up  tele 
phone  and  receiver) 

MEEHAN.  (listening)  It's  Walsh,  the  station 
agent. 

STANDISH.     (impatiently)     Well? 

MEEHAN.  (listening)  Says  those  shots  were 
fired  by  Major  Aintree. 

STANDISH.    Aintree ?    Why? 

MEEHAN.  (to  'phone)  Hold  the  wire,  (to 
STANDISH)  When  Aintree  got  off  the  train  he 
stumbled  into  a  nigger.  He  swore  at  the  nigger 
and  said  the  man  tripped  him  on  purpose.  The 
nigger  called  Aintree  a  liar — Aintree  fired 

STANDISH.    Did  he  hit  the  man? 

MEEHAN.  (to  'phone)  Hello!  Did  he  hit  the 
nigger,  (to  STANDISH)  Says  he  doesn't  know. 
The  nigger  jumped  for  the  darkest  place  he  could 
find. 

STANDISH.    Where  was  Bullard? 

MEEHAN.  (to  'phone)  Hello!  Was  our  man 
Bullard  on  post?  (to  STANDISH)  Says  Bullard 
knocked  the  gun  out  of  Aintree's  hand  with  his 
night  stick ;  and  took  the  gun. 

STANDISH.    Good ! 

MEEHAN.  He's  on  his  way  up  here  to  report. 
(to  'phone)  He  is,  hey?  (to  STANDISH)  Says 
Aintree's  coming  here  too,  to  report  Bullard. 

STANDISH.    For  what? 

MEEHAN.  Assault;  swears  he'll  break  him. 
(hangs  up  receiver  and  crosses  to  table  R.) 

STANDISH.  Break  him?  For  preventing  a  mur 
der?  I  think  not! 

(Crosses  to  table  left;  picks  up  notebook  and  writes 
in   it,    then   sits.      BULLARD   enters   hurriedly, 


14  THE  ZONE  POLICE. 

comes  doivn  c.     He  is  panting  as  though  he 
had  been  running.) 

BUL.  (saluting)  Lieutenant!  Major  Aintree 
fired  those  shots;  he  cursed  out  a  nigger,  and • 

STANDISH.  I  know.  The  Station  agent  tele 
phoned.  Where  is  the  nigger? 

BULLARD.     Outside — hiding. 

STANDISH.    Bring  him  in. 

BUL.     He's  afraid;  afraid  Aintree  will  see  him. 

STANDISH.    Is  he  hurt? 

BUL.    No,  sir. 

(For  an  instant  STANDISH  considers,  then  speaks 
eagerly.) 

STANDISH.    Does  Aintree  know  that? 

BUL.  No,  thinks  he  hit  him.  (resentfully)  He 
was  boasting  about  it. 

STANDISH.  Good!  (strikes  table  with  his  open 
hand)  I've  got  him !  Keep  that  nigger  out  of 
sight,  and  keep  out  of  sight  yourself,  until  I  give 
you  the  signal  to  come  in. 

BUL.    Yes,  sir. 

STANDISH.  Aintree's  on  his  way  here  to  report 
you  for  assault. 

BUL.     (aggrieved)     I  didn't  assault  him!    I 

STANDISH.  I  know  that.  Stand  outside  where 
you  can  watch  me;  when  you  see  me  light  this 
cigar,  (picks  up  cigar  from  table)  run  in  and  say 
"  I've  found  that  nigger,  he's  dead! 

BUL.  I  just  spoke  to  him!  He  ain't  even 
scratched. 

STANDISH.    Do  as  I  tell  you! 

BUL.    Yes,  sir. 

STANDISH.  When  I  lift  this  cigar,  and  light  it, 
you  run  in  there  (pointing  center)  and  say,  "  I've 
found  the  nigger.  He's  dead/'  (he  waves  BUL 
LARD  away)  Quick,  now,  or  Aintree  may  see  you. 


THE  ZONE  POLICE.  15 

(BULLARD  runs  to  c.  Is  about  to  go  left,  but,  as 
though  seeing  someone  approaching  from  that  di 
rection,  turns  and  runs  right.  STANDISH  looks  at 
MEEHAN  who  shakes  his  head)  What's  wrong, 
Sargeant  ? 

MEEHAN.  I  don't  like  it,  sir.  You  don't  need 
to  do  it.  You've  got  enough  evidence  in  that  note 
book  to  lose  him  his  commission. 

STANDISH.     I'm  going  to  make  sure  he  loses  it! 

MEEHAN.  I'm  only  thinking  of  you,  sir.  I  don't 
like  to  see  you  frame  up  any  man. 

STANDISH.  (hotly)  I'm  not  framing  him  up. 
He's  framed  himself  up.  All  I'm  going  to  do,  is  to 
nail  him  to  the  wall! 

MEEHAN.      (with    gesture   for   silence)      He's 
coming,  sir. 
1 

(AINTREE  enters  from  left  center,  he  walks  un 
steadily.  He  is  intoxicated,  and  furiously 
angry. ) 

AINTREE.  You  in  charge  here?  (STANDISH 
nods)  I  been  'saulted;  faulted  by  one  of  your 
damn  policemen.  He  struck  me,  struck  me  when  I 
was  protecting  myself.  He  and  a  nigger.  The 
nigger  tripped  me,  and  then  when  I  tryt  to  protect 
myself  this  thug  of  yours  beats  me  up;  clubs  me, 
Y'understan',  clubs  me!  I  want  that  man  broke !  I 
demand  you  strip  that  man's  shield  off  him.  Now — • 
'understan' — now,  for  'saulting  n'officer  of  the 
United  States  Army.  And,  if  you  don't,  I'll  beat 

him   up and   you,   too.      (strikes   a   belligerant 

attitude,  STANDISH  regards  him  unmoved.  His 
silence  irritates  AINTREE.  He  glances  from,  STAN- 
DISH  to  MEEHAN,  their  calmness  aggravates  him) 
Don't  think  I'm  afraid  of  you.  An'  if  I  want  'em, 
I  got  five  hundred  men  in  the  barracks.  An'  if 
I  say  the  word  they'll  rough  house  this  place  and 
throw  it  into  the  Cut — and  you  with  it! 


16  THE  ZONE  POLICE. 

STAT<.:DISH.  (quietly)  Suppose  they  tfuf— that 
wouldn't  save  you. 

AINTREE,  Fram  what?  Think  I'm  afraid  of 
your  night  sticks  i  From  what? 

STa.iND.'SH.     (quietly)    From  arrest 

AINTREE,  Arrest  me?  Do  you  know  whose 
talking  bo  you?  DC-  yow.  knew  wh$  I  am?  I'm 
Major  Aintree,— • dams?,  you.  commanding  the  in 
fantry,  an*  Fm  here  to  make  charges 

STANDISH.  (stsntiy)  Y^u  a:  e  not!  (he  rises) 
You  an  %re  o>ecaiase  you  are  ymder  .UYes;  for  in- 
toxkals.on,  for  'Areate&Kg  sk«  police,  and  lor  as 
sault  with  intent  to  kill.  And,  :•  that  ivian  should 
die 

A  NTREE.    (furious)    How  dare  you! 

STAND  SH.    Silsmce! 

AIWTREE.  "Silence"  to  me — you  impertinent 
pup!  (stakes  kis  4$f  ni  STANDISM)  Im  Major 
Aintres.  "Pm  y©ur  5Upen©r  officer.  lpm  am  officer 
and  z  ^nlemafi- — 

STANDXSH.  (slowly,  co:tfc;nptuous.ly)  You  are 
not !  You  are  a  4nmken  loafer. 

AINTREE,  (increduous)    Wa'sh,  Was'sh  'at? 

STANDISH.  You  are  a  drunken  loafer,  and  you 
know  it.  And  to-morrow  everyone  ©n  the  Zone 
and  everyone  In.  the  States  will  know  it. 

AINTREE.    Hold  on !    What 

STANDISH.  You've  killed  a  man;  or  tried  to— 
and  I'm  going  to'break  you.  (indignantly)  Break 
my  policeman  for  doing  his  duty,  for  preventing  a 
murder,  strip  that  man  of  his  shield?  It's  you  A'm 
going  to  strip,  Aintree, — you  hero  of  Batangas— 
I'm  going  to  strip  you  naked.  "  I'm  going  to  cut 
the  buttons  off  ybui  coat  and  tear  the  stripes 
away!''  I'm  going  to  degrade  you  and  disgrace 
yoit  and  drive  you  out  of  the  army!  (AINTREE'S 
manner  is  more  subdued,  but  he  is  still  insolent) 

AINTREE.      Why,    you — (turns    to    MEEHAN) 


THE  ZONE  POLICE.  17 

Here!  Tell  this  fellow  who  I  am!  (STANDISH  lifts 
notebook  from  table) 

STANDISH.  This  tells  me  who  you  are.  For 
three  months  you've  been  drunk  and  there's  the 
record.  It's  all  there  with  the  time,  place,  witnesses. 
I'll  swear  to  it.  I've  been  after  you  to  get  you 
and,  IVe  got  you.  With  that  record,  with  what 
you've  done  to-night  you'll  leave  the  Army.  You 
may  resign,  you  may  be  court  marshalled,  you 
may  be  hung;  I  don't  give  a  damn  what  they  do  to 
you — but,  you  will  leave  the  Army!  (to  MEEHAN) 
Put  him  in  a  cell,  if  he  resists •  (MEEHAN  ad 
vances.  AINTREE  waves  him  back) 

AINTREE.  Here  !  Hold  on !  I  don't  understan'. 
What  good's  it  going  to  do  you  to  lock  me  up,  an' 
humiliate  me;  what  harm  have  I  done  you?  (with 
return  of  anger)  Who  asked  you  to  run  the  Army, 
anyway?  Who  are  you? 

STANDISH.  My  name  is  Standish.  My  father 
was  Colonel  of  the  Thirty-ninth  when  you  fist 
joined  it. 

AINTREE.  (bewildered^  Stannish'^  Ql'  General 
Stannish — your  father  is  a  general  in  the  Army? 

STANDISSK.  (coldly)  And  his  father  before  him. 
18.11  my  people  have  been  in  the  Army ;  that?s  why  / 
^aspect  it,  thafs  why  I'm  going  to  throw  you  otrt 
of  it. 

AINTREE.  But,  Stannish,  my  boy — I'm  fr'en'  of 
your  father's,  why  throw  me,  out? 

STANDISH.  Because  you've  done  harm  fifty  men 
as  good  as  you  can't  undo.  You've  made 
drunkards  of  a  whole  battalion.  You've  taught 
boys  who  looked  up  to  you  to  make  swine  of  them 
selves.  You've  set  them  the  example,  now  I'm 
going  to  make  an  example  of  you! 

AINTREE.  But,  why?  What  grudge  you  got 
'gainst  me — 'gainst  ole  fr'en'  of  your  father's? 

STANDISH.  I've  no  grudge  against  you.  I'm 
not  vindictive.  I'm  sorry? 


i8  THE  ZONE  POLICE. 

AINTREE.  (laughs  contemptuously)     Sorry?    Ha! 
STANDISH.     Yes,  sorry,  but,   (pointing  at  him) 
I'm  going  to  drive  you  out  of  the  Army. 

(AINTREE  recognizes  that  the  tone  of  STANDISH  is 
final.  By  an  effort  of  the  will  he  pulls  himself 
together.  The  seriousness  of  the  situation 
sobers  him.  When  he  speaks  his  -voice  is  low 
and  calm.) 

AINTREE.  (to  MEEHAN)  Got  any  water? 
(MEEHAN  brings  cup  of  zvater  from  cooler. 
AINTREE  drinks,  pours  water  into  his  left  hand, 
wipes  his  forehead.  Returns  cup)  Thank  you. 
(MEEHAN  returns  to  table  R.  and  stands  beside  it) 
See  here,  Standish,  I'll  not  beg  of  you  or  any  man, 
but  I  ask  you  to  go  slow.  Think  what  you're  doing. 
If  you  force  this  thing  through — it  means  my  finish. 
(STANDISH  nods)  It  means  courtmarshall.  I  lose 
my  commission — I  lose  things  you  don't  know  any 
thing  about,  and  don't  forget  this;  if  I've  got  a 
record  for  drinking,  I've  got  a  reeo-r-d  f$r  other 
things,  too.  Don't  forget  that. 

STANDISH.  (coldly)       I  didn't  forget  it. 

AINTREE.  All  right,  then,  7  did.  Suppose  I 
have  gone  on  the  loose — just  to  pass  the  time — • 
just  because  I'm  sick  of  this  damn  ditch,  is  that 
going  to  wipe  out  all  that  went  before?  I'm  the 
youngest  Major  in  the  Army,  I've  been  in  three 
campaigns,  I'm  a  medal  of  honor  man,  I've  got  a 
career  ahead  of  me  and — I'm  going  to  be  married. 
If  you'll  give  me  a  chance 

STANDISH.  (eagerly)  I  will  give  you  a  chance.. 
If  you'll  give  your  word  to  this  man  and  to  me, 
that,  so  help  you  God,  you'll  never  drink  again — • 
you  can  walk  out  of  that  door  a  free  man. 

AINTREE.  (savagely)  You  can't  scare  me  into 
taking  an  oath!  I'll  see  you  in  Hell  first  1 

STANDISH.    Is  that  your  answer? 


THE  ZONE  POLICE.  19 

AINTREE.     Yes ! 

STANDISH.    Put  the  prisoner  in  a  cell,  Sargeant 

\As  though  the  interview  was  at  an  end,  STANDISH 
picks  up  and  lights  cigar,  AINTREE  still  defiant 
starts  door  R.  BULLARB  runs  on  center  and 
comes  down  to  table  L.) 

BULLARD.    (excitedly}      Lieutenant,   I've   found 
that  nigger;  shot  through  the  lungs.     He's  dead! 
AINTREE.     My  God! 

(BULLARD  turns  pretending  for  the  first'  time  to 
observe  the  presence  of  AINTREE.  He  points 
at  him,  speaking  in  a  whisper.) 

BULLARD.  Thafs  the  man  that  shot  him,  Lieu 
tenant.  It's  murder! 

AINTREE.  Murder!  (BULLARD  runs  to  center 
door  and  stands  with  back  to  it  as  though  to  prevent 
AINTREE  from  escaping.  AINTREE  buries  his  face 
in  his  hands.  There  is  a  pause.  The  three  men 
look  at  AINTREE.  He  pulls  himself  up  and  motions 
MEEHAN  towards  the  door  to  the  cells]  Open  the 
door.  (MEEHAN  moves  to  door  and  turns  key  in 
lock.  AINTREE  starts  towards  it  and  then  comes 
back  to  STANDISH.  His  voice  now  is  gentle,  dull  as 
with  pain]  Standish,  a  minute  ago,  you  offered  me 
a  chance,  and  I  refused  it.  I  was  rough  about  it. 
I'm  sorry.  You  made  me  hot,  because  I  thought 
you  were  forcing  my  hand,  blackmailing  me  into 
doing  something  I  ought  to  do  as  a  free  agent. 
Now,  I  am  a  free  agent.  You  couldn't  give  me  a 
chance  now,  you  couldn't  set  me  free  now,  not  if  I 
swore  on  a  thousand  Bibles.  I  don't  know  what 
they'll  give  me;  prison  for  life,  or  hanging,  or  just 
dismissal,  but,  you've  got  what  you  wanted — I'm 
leaving  the  Army!  So,  now,  that  I've  nothing  to 
gain  by  it,  I  want  to  swear  to  you,  and  to  this  man 


20  THE  ZONE  POLICE. 

here,  that,  whether  I  hang  or  go  to  jail  or  am  turned 
loose  I  will  never,  so  help  me  God,  take  another 
drink!  (he  holds  out  his  right  hand  to  MEEHAN; 
his  left  to  STANDISH.  STANDISH  seises  it  in  both 
of  his) 

STANDISH.  (happily)  Aintree!  Suppose  I  could 
Work  a  miracle ;  suppose  I've  played  a  trick  on  you ; 
just  to  show  you  your  danger,  to  show  you  what 
might  happen  to  you  any  day — will  you  still  keep 
that  Oath? 

AINTREE.  I've  given  my  word — yes !  For  God's 
sake  don't  torture  me!  Is  the  man  alive? 

STANDISH.  (to  BULLARD)  Tell  that  nigger  he 
can  go  home  now.  I  don't  need  him  any  more. 

(BULLARD  salutes  and  exits.) 

AINTREE.  (breaking  d own)  Thank  God!  Thank 
God!  (fainting,  he  collapses  against  STANDISH) 

STANDISH.  (to  MEEHAN)  Catch  him,  Sargeant! 
(/«  their  arms  the  two  men  support  AINTREE.) 

THE  CURTAIN  FALLS. 


MRS.   WIGGS   OF   THE 
CABBAGE   PATCH 

Dramatization  in  3  acts,  by  Anne  Crawford  Flexner  from 
the  novel  by  Alice  Hegan  Rice.  15  males,  11  females. 

1  interior,  1  exterior.     Costumes  modern  and  rustic.     Playa 
a  full  evening. 

A  capital  dramatization  of  the  ever-beloved  Mrs.  Wiggs  and 
her  friends,  people  who  have  entered  the  hearts  and  minds  of  a 
nation.  Mrs.  Schultz  and  Lovey  Mary,  the  pessimistic  Miss  Hazy 
and  the  others  need  no  new  introduction.  Here  is  characteriza 
tion,  humor,  pathos,  and  what  is  best  and  most  appealing  in 
modern  American  life.  The  amateur  acting  rights  are  reserved 
for  the  present  in  all  cities  and  towns  where  there  are  stock 
companies.  Royalty  will  be  quoted  on  application  for  those  cities 
and  towns  where  it  may  be  presented  by  amateurs. 

Price,  75  Cents. 

THE   FOUR-FLUSHER 

Comedy  in  3  acts.    By  Caesar  Dunn.     8  males,  5  females. 

2  interiors.     Modern  costumes.     Plays  2%  hours. 

A  comedy  of  hustling  American  youth,  "The  Four-Flusher"  is 
one  of  those  clean  and  bright  plays  which  reveal  the  most  appeal 
ing  characteristics  of  "our  native  types.  Here  is  an  amusing  story 
of  a  young  shoe  clerk  who  through  cleverness,  personality,  and 
plenty  of  wholesome  faith  in  himself,  becomes  a  millionaire.  The 
play  is  best  described  as  ''breezy."  It  is  full  of  human  touches, 
and  develops  a  most  interesting  story.  It  may  be  whole-heartedly 
recommended  to  high  schools.  (Royalty,  twenty-five  dollars.) 

Price,  75  Cents. 

PALS   FIRST 

Comedy  in  a  prologue  and  3  acts.  By  Lee  Wilson  Dodd. 
8  males,  3  females.  1  interior,  1  exterior.  Modern  cos 
tumes.  Plays  2l/2  hours. 

Based  on  the  successful  novel  of  the  same  name  by  F.  P. 
Elliott,  "Pals  First"  is  a  decidedly  picturesque  mystery  play. 
Danny  and  the  Dominie,  a  pair  of  tramps,  enter  a  mansion  and 
I>ersuade  the  servants  and  friends  that  they  belong  there.  They 
are  not  altogether  wrong,  though  it  requires  the  intervention  of 
a  judge,  two  detectives,  a  villain  and  an  attractive  girl  to  un 
tangle  the  complications.  A  most  ingenious  play,  well  adapted 
to  performance  by  high  schools  and  colleges.  (Royalty,  twenty- 
five  dollars.)  Price,  75  Cents. 

SAMUEL  FRENCH,  25  West  45th  Street,  New  York  City 
QHI  W«w  Descriptive  Catalogue  Sent  Fr<je  on 


KICK  IN 


Play  in  4  acts.  By  Willard  Mack.  7  males,  5  females, 
2  interiors.  Modern  costumes.  Plays  2%  hours. 

"Kick  In"  is  the  latest  of  the  very  few  available  mystery 
plays.  Like  "Within  the  Law,"  "Seven  Keys  to  Baidpate," 
"The  Thirteenth  Chair,"  and  "In  the  Next  Room,"  it  is  one 
of  those  thrillers  which  are  accurately  described  as  "not  having 
a  dull  moment  in  it  from  beginning  to  end."  It  is  a  play  with 
all  the  ingredients  of  popularity,  not  at  all  difficult  to  set  or  to 
act;  the  plot  carries  it  along,  and  the  situations  are  built  with 
that  skill  and  knowledge  of  the  theatre  for  which  Willard  Mack 
is  known.  An  ideal  mystery  melodrama,  for  high  schools  and 
colleges.  (Royalty,  twenty-five  dollars.)  Price,  75  Cents. 


TILLY   OF    BLOOMSBURY 

(  "Happy-Go -Lucky. ")  A  comedy  in  3  acts.  By  /an 
Hay.  9  males,  7  females.  2  interior  scenes.  Modern 
dress.  Plays  a  full  evening. 

Into  an  aristocratic  family  comes  Tilly,  lovable  and  youthful, 
with  ideas  and  manners  which  greatly  upset  the  circle.  Tilly 
is  so  frankly  honest  that  she  makes  no  secret  of  her  tre 
mendous  affwtion  for  the  young  son  of  the  family;  this  brings  her 
into  many  difficulties.  But  her  troubles  have  a  joyous  end  in 
charmingly  blended  scenes  of  sentiment  and  humor.  This  comedy 
presents  an  opportunity  for  fine  acting,  handsome  stage  settings, 
and  beautiful  costuming.  (Royalty,  twenty-five  dollars.) 

Price,  75  Centav 


BILLY 

Farce-comedy  in  3  acts.  By  George  Cameron.  10  males, 
6  females.  (A  few  minor  male  parts  can  be  doubled,  mak 
ing  the  cast  7  males,  5  females.)  1  exterior.  Costumea, 
modern.  Plays  2%  hours. 

The  action  of  the  play  takes  placti  on  the  S.  S.  "Florida," 
tound  for  Havana.  The  story  has  to  do  with  the  disappearance  of 
a  set  of  false  teeth,  which  creates  endless  complications  among 
passengers  and  crew,  and  furnishes  two  and  a  quarter  hours  of 
the  heartiest  laughter.  One  of  the  funniest  comedies  produced  in 
the  last  dozen  years  on  the  American  stage  is  "Billy"  (some 
times  called  "Billy's  Tombstones"),  in  which  the  late  Sidney 
Drew  achieved  a  hit  in  New  York  and  later  toured  the  country 
eeveral  times.  '.Royalty,  twenty-five  dollars.)  Price,  75  Cents> 

SAMUEL  FRENCH,  25  West  45vh  Street,  New  York  Cft. 
Our  New  Descriptive  Catalogue  Sent  Free  oo  Beauest 


NOTHING    BUT   THE   TRUTH 

Comedy  in  3  acts.  By  James  Montgomery.  5  males, 
6  females.  Modern  costumes.  2  interiors.  Plays  2%  hours. 

Is  it  possible  to  tell  the  absolute  truth — even  for  twenty-four 
hours?  It  is — at  least  Bob  Bennett,  the  hero  of  "Nothing-  but 
the  Truth,"  accomplished  the  feat.  The  bet  he  made  with  his 
partners,  his  friends,  and  his  fiancee — these  are  the  incidents  in 
"William  Collier's  tremendous  comedy  hit.  "Nothing  but  the 
Truth"  can  be  whole-heartedly  recommended  as  one  of  the  most 
sprightly,  amusing  and  popular  comedies  of  which  this  country 
can  boast.  (Royalty,  twenty-five  dollars.)  Price,  75  Cents, 

SEVENTEEN 

A  comedy  of  youth,  in  4  acts.  By  Booth  Tarkington. 
8  males,  6  females.  1  exterior,  2  interior  scenes.  Costumes, 
modern.  Plays  2^  hours. 

It  is  the  tragedy  of  "William  Sylvanue  Baxter  tui»i  he  has  ceased 
to  be  sixteen  and  is  not  yet  eighteen.  Baby,  child,  boy,  youth 
and  grown-up  are  definite  phenomena.  The  world  knows  them  and 
has  learned  to  put  up  with  them.  Seventeen  is  not  an  age,  it  is  a 
disease.  In  its  turbulent  bosom  the  leavings  of  a  boy  are  at  war 
with  the  beginnings  of  a  man. 

In  his  heart,  William  Sylvanus  Baxter  knows  all  the  tortures 
and  delights  of  love ;  he  is  capable  of  any  of  the  heroisms  of  his 
heroic  sex.  But  he  is  still  sent  on  the  most  humiliating  errands 
by  his  mother,  and  depends  upon  his  father  for  the  last  rickel 
of  spending  money. 

Silly  Bill  fell  in  love  with  Lolo,  the  Baby-Talk  Lady,  a  vapid 
if  amiable  little  flirt.  To  woo  her  in  a  manner  worthy  of  himself 
(and  incidentally  of  her)  he  stole  his  father's  evening  clothes. 
Wb<m  his  wooings  became  a  nuisance  to  the  neighborhood,  his 
mother  stole  the  clothes  back,  and  had  them  altered  to  fit  the 
middle-aged  form  of  her  husband,  thereby  keeping  William  at 
home  in  the  evening. 

But  when  it  came  to  the  Baby-Talk  Lady's  good-bye  dance,  not 
to  be  present  was  unendurable.  How  William  Sylvanus  again 
got  the  dress  suit,  and  how  as  he  was  wearing  it  at  the  party  the 
negro  servant,  Genesis,  disclosed  the  fact  that  the  proud  garment 
was  in  reality  his  father's,  are  some  of  the  elements  in  this 
charming  comedy  of  youth. 

"Seventeen"  is  a  story  of  youth,  love  and  summer  time.  It  is 
a  work  of  exquisite  human  sympathy  and  delicious  humor.  Pro 
duced  by  Stuart  Walker  at  the  Booth  Theatre,  New  York,  it  en 
joyed  a  run  of  four  years  in  New  York  and  on  the  road.  Strongly 
recommended  for  High  School  production.  (Royalty,  twenty-five 
dollars.)  Price,  75  Cents. 

SAMUEL  FRENCH,  25  West  45th  Street,  New  York  Citv 
Our  New  Descriptive  Catalogue  Sent  Free  on   Request 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 
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orm  L9-50m-4,'61(B8994s4)444 


comedy  and  drama,  redolent  of  the  adventurous  spirit  of  yout 
(Royalty,  twenty-fly*  dollar*  >  Price,  75  Cento. 


SAMUEL  FRENCH,  23  We«t  45th  Street,  New  York  City 
Our  New  Descriptive  CetalogtM  Sent  Free  on  Rcyues. 


THJB 

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